In a recent issue of Film Comment, critic Kent Jones recalled the film culture that predominated in 1970s and ’80s New York, his memories weary and tinged with rancor. More cinephobic than cinephilic, this film culture, Jones argued, had more to do with the heady pronouncements of theory than it did with any authentic engagement with, or enthusiasm for, actual films. “Certain names and phrases and references were invoked so regularly that one had the impression of Benedictine monks chanting
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